J J. Edu. Sci., Vol.(15) No.(4) 2008 K
The Defiance of Jean Anouilh's Antigone
Iqbal M. Salih
Dept. of English / College of Education
University of Mosul
Received
03 / 12 / 2007
Accepted
07 / 05 / 2008
‫اﻟﺨﻼﺻﺔ‬
‫ﺘﺘﻨﺎﻭل ﺍﻟﺩﺭﺍﺴﺔ ﺍﻟﺤﺎﻟﻴﺔ ﻤﻌﺎﻟﺠﺔ ﻤﻭﻀﻭﻉ ﺍﻟﺘﺤﺩﻱ ﻓﻲ ﺸﺨﺼﻴﺔ ﺍﻨﺘﻴﻜـﻭﻥ ﻭﻫـﻲ ﺇﺤـﺩﻯ‬
‫ﺒﻁﻼﺕ ﺠﻴﻥ ﺍﻨﻭﻴل ﻓﻲ ﻤﺴﺭﺤﻴﺘﻪ ﺍﻟﺸﻬﻴﺭﺓ ﺍﻨﺘﻴﻜﻭﻥ ﻭﺘﺒﻴﻥ ﻫﺫﻩ ﺍﻟﺩﺭﺍﺴﺔ ﺍﻥ ﻫﺫﻩ ﺍﻟﺒﻁﻠـﺔ ﺘﺤـﺩﺕ‬
‫ ﻤﻠﻙ ﺜﻴﺒﺱ ﺇﺫ ﻴﻅﻬﺭ ﺍﻟﺼﺭﺍﻉ ﺍﻟﺠﺩﻟﻲ ﺒﻴﻥ ﺍﻷﺜﻨـﻴﻥ ﺍﻥ ﻤﺜﺎﻟﻴـﺔ ﺘﻠـﻙ‬،‫ﺇﺭﺍﺩﺓ ﻋﻤﻬﺎ ﺍﻟﻤﻠﻙ ﻜﺭﻴﻭﻥ‬
‫ﺍﻟﻤﺭﺃﺓ ﺍﻟﺸﺎﺒﺔ ﻫﻲ ﻤﺎ ﺩﻓﻌﻬﺎ ﻷﻥ ﺘﻘﻑ ﺒﻭﺠﻪ ﺫﻟﻙ ﺍﻟﻤﻠﻙ ﻤﻔﻀﻠﺔ ﺍﻟﻤﻭﺕ ﻋﻠـﻰ ﻗﺒـﻭل ﺍﻟﻤـﺴﺎﻭﻤﺔ‬
.‫ﻭﺍﻟﺭﻀﻭﺥ‬
Abstract
The present research focuses on studying the defiance of Jean
Anouilh's heroine Antigone in his famous play Antigone.She rebels
against the will of her uncle, Creon, king of Thebes.The argumentative
battle between Antigone and Creon reveales that the idealism of that
young woman stands behind her defiance. She rejects the materialistic
world and embraces death rather than compromise and surrender.
After the Second World War, the spirit of the traditional theatre in
France underwent a radical change in that it wished to embody an
awareness of an altered world situation, even if it was not concerned with
changing its form, it felt obliged to change its content as Thierry Maunier
indicates: “ [most of ]the historical plays after the war were concerned
with the problems of the contemporary world.”1 The first half of the
twentieth century is baffling hard to classify. There are no literary schools
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The Defiance of Jean Anouilh's Antigone.
nor periods; strands of classicism, romanticism are rediscoverable
interestingly with surrealism and existentialism. Each author must be
studied in isolation and with reference to his own reaction to the tragedy
of war, occupation, national decline, tyranny and injustice. Moreover,
man is portrayed against a background which is especially dark and
confusing. The period thus must be seen as a continuation of the previous
three centuries in which the study of the human mind was the main
concern of the writer. 2 Ancient mythology and history had been drawn
upon by the French dramatist Jean Giraudoux (1882-19940) and were
reused again by Jean Paul Sartre (1905 ) in his play The Flies (1943) and
also by Georges Neveux (1900) in his play The Voyage of Theseus
(1948).Whether they used a historical framework or not, there were many
works that can be defined as “Problem Plays” their themes were taken
from contemporary events.
Like other French playwrights, Jean Anouilh (1910-1987) treated
classic themes in the spirit of his own age and temperament. Among his
famous plays were Euridyce (1941), Antigone (19440) and Medea (1946).
The best known of Anouilh's plays was Antigone, a veiled criticism of
the Nazis who must have permitted it to be produced in occupied Paris
because Anouilh's pessimistic view of humanity made the play seem
unpolitical.3
Anouilh's outlook on life is a rebellious. Some of his plays are
called tragedies of sensitive people crushed by insensitive surroundings.
He has however, written plays based on Greek myth. He mainly uses
these plays of myth as he does his own idiosyncratic view of life rather
than trying to see what are the issues of the particular crises he describes
and then putting them over in universal terms. All his plays tend to
coalesce. They are shouts of defiance at society. Tragedy for Anouilh is
to shout at the top of your voice when hope is lost.4
Many of his plays revolve round a simple theme: an idealist,
searching instinctively for a life of perfect sincerity, is brought face to
face with a society which is false, corrupt and pretentious. He or she will
choose isolation, misery and even death rather than compromise with
hypocrisy which is seen as a triumph rather than a tragedy. Having been
contaminated by society, the idealist will perhaps have a second chance
to live or die; or perhaps purity will conquer corruption. Such situations
allow for some familiar shafts against bourgeois society.5
The central figure in Anouilh's plays is the one who says"no" and
who refuses life. His heroines are usually contaminated by a corrupting
family relationship, some social pressure, or the memory of family and
social entanglements.6 J. Chiari indicates:
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Iqbal M. Salih
All Anouilh's heroes are obsessed with purity,
and with the uncompromising attitude. [They ]
search for purity and say no to life…These
heroes and heroines of negation have been
defeated by rational arguments and in fact say
no to reason and logic.7
Anouilh's heroes are usually girls, who want to be boys, and
whose relationship with their lovers is that of comrade. They are not
conventionally beautiful, though fascinating in an odd way, like
Antigone. They are thin, pale and usually dark. They love childhood and
wish to return to its simplicities. It becomes obvious that all his plays are
about those who say "yes" or "no". Thus most of his myths ultimately
coalesce into this single question, and in every situation it is right to say
"no".8
It is almost true to say that Anouilh never has traditional heroes or
heroines; they are all at any rate spiritual adolescents as Marsh describes
them:
They are existentialist of Romantic selfcenteredness. They are contemptuous of life,
especially of any intellectual activity, since
intellectual
activity
inevitably
involves
compromise. They all say no to life and this
word becomes a mark of their
nature.
Humanity is divided into " yes" or "no" sayers.
To say "no" is to perform an absurd acts.9
In his famous play Antigone, Anouilh presents the heroin of the
play as an anti-heroic character. This play is a tragedy inspired from a
Greek mythology and the play of Sophocles from the fifth century B.C.
She is presented as a figure of the French Resistance. She rises up alone
against the state power. Anouil's adaptation strips Antigone's act of its
moral, political, religious and filial trappings allowing it to emerge in all
its gratuitously. Anouilh uses a classical tragedy to reveal a universal
truth by clothing the awesome figure of antiquity in modern dress and by
putting modern expressions into their mouths. He bridges the gap
between past and present and links the emotions of Greek characters with
that of our own. Antigone is the antithesis of the melodramatic heroine.
She is no longer the Antigone of Sophocles, defending right against
wrong, representing freedom against tyranny, but archetypal character.
Antigone who has been ordered by king Creon, the dictator of Thebes, to
do not bury the corpse of her brother Polynices, is externally modernized.
15
The Defiance of Jean Anouilh's Antigone.
She has coffee, bread and butter for breakfast; her brother went about in
fast cars. In addition to that, she is no longer the Antigone of Sophocles,
defending right against wrong, representing freedom against tyranny, but
rather one of Anouilh's obstinate little idealists. She is presented her as a
rebel character who challenges the will of the king. Creon tries to save
Antigone from the consequences of her efforts to bury her brother
Polynices. He reminds her of her own lack of religious faith and points
out that her brother is a villainous man, who does not worth the sacrifice
of her life.
The play begins with the Chorus who relates the events of the
recent past. Oedipus, the late king of Thebes, who was the father of the
two girls, viz. Antigone and Ismene, had also two sons: Eteocles and
Polynices. Oedipus had decided that the sons should share the throne and
the rule in alternating years after his death. Eteocles, at the end of his
year's reign, refused to step down for Polynices' turn. A civil war between
the brothers therefore took place. Although Polynices engaged six foreign
princes and brought them to the seven gates of the city, they were yet
defeated. During the fight, both Polynices and Eteocles were killed. After
their death, Creon, the brother of Oedipus, seized the throne and ordered
that no one is to bury Polynices, who is regarded a traitor of the state.
Any person who tries to give Polynices a religious burial will be put to
death. On the other hand, Eteocles, with whom Creon sided, is given a
state funeral as the Chorus indicates:
Creon has issued a solemn edict that
Eteocles,With whom he had sided , is to be
buried with pomp and honors, and that
Polynices is to be left to rot. The vultures and
the dogs are to bloat themselves on his carcass.
Nobody is to go into mourning for him. No
gravestone to be set up in his memory. And
above all, any person who attempts to give him
religious burial will himself be put to death. 10
From the very beginning of the play Antigone is exposed as a
rebel character who revolts against the will of the king to stand up for her
family. Antigone explains in what seems to be a rational tone that she and
Ismene are bound, as by duty to bury Polynices and face the execution.
She makes it clear to Ismene that there are no ways about it:
We will do what we have to do…We are
bound to go out and bury our brother.
That's the way it is. What do you think
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Iqbal M. Salih
We can do to change it?
( Antigone, P.187)
She argues with her sister that she is not eager to die: “I'd prefer not to
die, myself”11, but they have no other choices. Antigone tells her that she
is definitely going to fulfill her sacred duty of burying her brother. She
does not share her sister the fear of the law, nor does she fear Creon as a
king and man of the state. She makes rushing decisions based on her
innocence and naivety, as young people often tend to do. Ismene, a little
older and perhaps wiser‚ suggests that a compromise with Creon is the
best solution since he is the king and confronting with him will lead them
to face many problems:
He is stronger than we are, Antigone.
He is the king . And the whole city is
with him . Thousands and thousands of
them ,swarming through all the streets
of Thebes…A thousand arms will seize
our arms . A thousands breathes will
breath into our faces..We'll be dragged
into the scaffold for torture.
( Antigone, PP. 188-189)
Antigone's view is a simple statement: “I don't want to sort of see,
anything.”12 Antigone speaks with the rashness of youth that causes the
young to believe that a compromise is not a solution. She wants things to
be in her own hands, and she will not accept further alternatives. She tells
her sister that:
There will be time enough to understand
when I'm old…If I ever am old. But not now.
( Antigone, P.188)
With that statement, she implies that she knows what will happen to her
and she is quite aware of the reaction of her uncle. Antigone sees that
wisdom and compromise come as a result of old age and weakness. “She
often speaks with a sort of calm, rehearsed wisdom of her own. The
wisdom she speaks with is false; it is caused by the results of her quick
decision making.”13 In facing her impending doom as she believes, she
will be sentenced to death. She has come to find a sense of resignation for
designs. She begs her Nurse to take care of her dog and speaks to her
fiancé Haemon as though she wants to tie up loose ends. She explains her
behaviour from their most recent encounters and she apologizes for not
having been so much kind to him. She clearly loves him, but even her
17
The Defiance of Jean Anouilh's Antigone.
love is not enough to prevent her from fulfilling her own rushing
decisions.
Antigone is opposed to her radiant sister Ismene. Unlike her
beautiful and docile sister, Antigone is scrawny, sallow, with drawn and
recalcitrant brat. She has a boyish physique. From the very beginning of
the play, it becomes very obvious that Antigone is a rebel character as the
chorus describes her:
The thin little creature sitting by herself …
She will burst forth as the tense , sallow,
willful girl whose family would never take
her seriously and who is about rise up
alone against Creon, her uncle, the king.
( Antigone, p.179)
She curses her girlhood when Ismene reminded her that she is a girl
and it will be impossible for her to bury her brother:
Ismene : Antigone be sensible. It's all very well
for men to believe in ideas and die for
them. But you are a girl!
Antigone : Don't I know I'm a girl? Haven't I
spent my life cursing the fact that I
was a girl?
( Antigone, pp.189-190 )
Antigone has always been difficult to be understood. In her
childhood she used to quarrel with her sister Ismene, insist on the
gratification of her desires and to refuse to understand the limits placed
on her as she says: “I am not here to understand.”14 She is much more cut
off from the world, remaining distant from those who once surrounded
her. Her tragedy rests in her refusal to cede on her desire. Against all
prohibitions and without any just cause, she will bury her brother to the
point of her own death as her confrontation with Creon reflects. Her
insistence on her desire beyond the limits of reason renders her ugly
object tabooed.
Thus the battle between Antigone and her uncle starts when she
attempts to bury the corpse of her brother Polynices. Creon is shocked at
the guard's news that the edict has been violated. His fear is intensified
when he realizes that the criminal is his niece Antigone. He wishes to
cover up Antigone's crime and asks her to comply:
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Iqbal M. Salih
Creon : Did you meet any one on your
way-coming or going?
Antigone: No, nobody.
Creon : Very well. Now listen to me.
You will go straight to your room…
You will go to bed. You will say that
you are not well and that you have not
been out since yesterday. Your nurse will
tell the same story.
( Antigone, p. 207 )
In their debate, Creon and Antigone clash strongly, and their mood
conveys pain coupled with joy. Antigone is stubborn and argues that she
has promised Polynices and she would perform the ritual burial for him:
I owe it to him to unlock the house
of the dead in which my father and
my mother are waiting to welcome
him.
( Antigone,P.207)
The king doesn't want to impose the penalty on Antigone; he
painfully issues her punishment when she refuses to come to terms with
him. Antigone claims the sanctity of the religious laws, while, Creon
argues for the authority of the laws of the state:
Creon: I merely devote myself to introducing
little order into this absurd kingdom.
( Antigone, p. 209)
The conflict takes the form of a fierce verbal duel between the
uncle and the niece. In this confrontation, Creon warns Antigone that he
is bound to ignore the law and bury her alive as a penalty for her
disobedience of his decree:
Creon : Why did you try to bury your brother…I
had forbidden it.
Antigone : Those who are not buried
wander eternally and find no rest.
Creon : Polynices was a rebel and a traitor,
and you know it.
19
The Defiance of Jean Anouilh's Antigone.
Antigone : He was my brother.
Creon : You know the punishment I decreed
for the person who attempted to give
him burial.
Antigone : Yes , I know the punishment.
( Antigone, P. 208 )
There is no doubt that “ Creon is rational and practical , whereas
Antigone is idealistic and impractical.” 15 In the mighty clash of their
egos, Antigone calls him a frightened man. She is morally superior and is
not afraid of the consequences of her act:
You are the king, and you are all-powerful
… You are a loathsome man!
( Antigone, PP. 211-213 )
Creon tries to convince Antigone to accept his viewpoint. He tells her
that his only interest is in political and social order. He does not have
time to waste it in such trivial things since he has more important matter
than these things : “ kings my girl, have other things to do than to
surrender themselves to their private things.”16 Creon is bound to ideas of
good, sense, simplicity and the banal happiness of every-day life. To him,
life is but the happiness that one makes: the happiness that inhabits in
grasped tools, a garden bench and a child playing at one's feet. He tries
his best to stimulate Antigone to his opinion:
Antigone be happy. Life flows like water, and
you young people let it run away through your
finger . Shut your hands ; hold on it, Antigone.
Life is not what you think it is. Life is a child
playing round your feet , a tool you hold firmly
in your grip , a bench you sit down upon in the
evening , in your garden…Life is nothing more
than the happiness that you get out of it.
( Antigone, P. 220 )
Creon's speech does not satisfy Antigone who insists on burying
her brother regardless of Creon's laws. Antigone is the defiant, the
heroine of resistance who has driven herself into corner by the sheer
reason of the course, asserts her right to refuse, accept a compromise and
to die. Creon has no desire to sentence Antigone to death. He thinks that
she is far more useful to Thebes as a mother to its heir than a martyr, and
20
Iqbal M. Salih
he orders her behaviour covered up. Her sacrifice in Ceon's eyes is
completely unjustified:
You are going to marry Haemon;
and I want you to fatten up abit so
that you can give him a sturdy boy.
Let me assure you that Thebes
Needs that boy a good deal more
than it needs your death.
( Antigone, PP.209-210)
Antigone is momentarily distracted by Creon's vision of happiness, but
she calmly chooses to die for her deed. Her insistence on her desire in
facing the power of the state brings ruin into Thebes and to Creon
specifically as well. With the death of his family, Creon is left utterly
alone in the palace. His throne even robs him of his mourning, the king
and his pace sadly shutting off to a cabinet meeting after the
announcement of the family's death.
In her search for an ideal and spiritual truth in burying Polynices
and defying the law, Antigone rejects the world's formula for obedience
and happiness. She refuses a conventional happiness as it is too human, a
word unworthy of her heroic sacrifice and idealism. She curses Creon's
filthy happiness of secular love and material comfort:
I spit on your happiness! I spit on
your idea of life - that life must go
on, come what may. You are all
like dogs that lick everything they
smell. You with your promise of a
humdrum happiness-provided a
person doesn't ask too much
of life. I want everything of life, I do
and I want it now. I want it total,
complete: other wise I reject it! I
will not be moderate. I will not be
satisfied with the bit of cake you
offer me if I promise to be good
little girl. I want to be sure of
everything this very day; sure that
every thing will be as beautiful as
when I was a little girl. If not, I
want to die!
( Antigone, P 222 )
21
The Defiance of Jean Anouilh's Antigone.
Hence it is clear that happiness is found in having principles and
adhering to them. Such ideal is highlighted in the debate between
Antigone and the king. Antigone rejects the ordinary concept of human
happiness that Creon accepts; love, marriage, children and comfort are
not important to her. For Antigone this formula spells a compromise as
she indicates: “I don't have to do things that I think are wrong.”17 Instead,
she lives by divine law and sacred duty. In refusing these, Antigone
rejects the materialistic world and embraces death: “ You choose life and
I choose death.”18 Antigone is an idealistic person who seeks the peace of
truth, even if it is found in death. She represents the quest for perfection
and the refusal to compromise and surrender 19as J.Guicharnaud asserts
that:
Anouilh's heroines fight as much
against abstraction as against the
sordid aspects of concrete reality.
Some of them take refuge,
paradoxically, in idealism, but that
idealism is more a nostalgia for
happy life than a philosophy and is
finally dangerous and negativehence the source of their tragedy.20
Antigone defies her uncle. She sticks up for what she believes to be
right, no matter what it costs her. Antigone's pride is part of what makes
her adhere to her decision as Creon assures:
The pride of Oedipus and his
headstrong . For him as you, human
happiness was meaningless.
( Antigone, P.208 )
What is clear here is that “the battle between an older, wiser
generation and a younger, emotional generation is displayed right in this
play.”21 Thus one can say that the difference in age between the two helps
to set the argument between Creon and Antigone on fire, as the Chorus
indicates:
Chorus: You are out of your mind, Creon.
What have you done? . . .
Creon: She hade to die.
Chorus: She is a mere child.
( Antigone, P.224 )
22
Iqbal M. Salih
If Antigone is the embodiment of youthful vitality and idealism, Creon
turns to be the reflection of age, wisdom and bitterness. He says that he
“woke up one morning and found [himself] the king of Thebes.”22 He
does not want to shoulder the responsibility that comes with the title.
Creon indicates that he is able to compromise and put his own idealism
on hold for the sake of the kingdom. It is wisdom and maturity that allow
him to make these decisions. When he supposedly crushes the rebellion
that Polynices has formed, he lays Polynices' corpse out in the field and
refuses to bury him. In his bitterness, he wants the kingdom to know how
the true ruler is and as such uses the stench of a rotting carcass as a
reminder as he tells Antigone:
Isn't your brother's corpse, rotting
there under my windows, payment
enough for peace and order in Thebes?
( Antigone, P. 215 )
Creon's only concern is how to keep order in his kingdom as
Raymond Williams indicates :
[According to] Creon's conception
of order, it does not matter to him
which of the bodies lies rotting and
which is buried in state; one must
rot, so that the citizens may smell
the end of revolt. So this must be
done for order."23
Thus Creon's choices are not based on the fear of losing his power,
but rather made for the sake of keeping security and order to Thebes. As
he asserts his compromise as selfless, he accordingly makes his mind to
punish Antigone: “I shall have you put to death.”24
Antigone at the end has a kingdom which Creon cannot enter.
Creon thinks of kinship as the job of ruling. The two characters represent
different concepts which cannot be reconciled. Creon is a man who says
'no' and decides to say 'yes' and accepts responsibility. He believes that
life needs the one who says 'yes'. He believes that compromise is
something essential in life since it necessitates the one who is ready to
surrender especially the ruler:
Can you imagine a world in which trees
say no to the sap? In which beasts say no
23
The Defiance of Jean Anouilh's Antigone.
to hunger or to propagation? Animals
are good simple, tough .
( Antigone, p. 216 )
Here the two ways of life are represented as the result of choice, and not
as an inevitable birthright. At surface value this is a wise choice because
it prevents the kingdom from entering a state of chaos and conflict
without a ruler:
There had to be one man who said yes.
Somebody had to agree to captain the
ship.
( Antigone, p. 215 )
Antigone mocks Creon for his readiness to agree on anything to avoid
conflict, but his response redeems him. She looks at his view as a kind of
cowardice. Antigone tells him that he starts losing those characteristics
that enable him to say 'no' since he lacks the courage to utter such a word.
She says that he has lost all of the passion and innocence of youth that
she still possesses. She indicates that she used to refuse all things which
she thinks are vile; therefore she cannot surrender:
I didn't say yes. I can say no to
anything I think vile and I don't
have to count the cost.
( Antigone, P. 214 )
Antigone rejects the compromise of Creon and accordingly throwing
back in his face all that he has learned during his past years. Antigone's
words hurt Creon's pride and force to face monstrosity he has obtained.
He defends his acceptance of the crown and therefore his acceptance
reflects his ethics when he says:
I should have been like a workman
who turns down a job that has to be
done. So I said yes.
(Antigone, P. 214 )
Creon's redemption from the evil of compromising his ethics lies in
the fact that he learns the true value of responsibility. He comes to realize
that there would be a time when one must accept responsibility, despite
the desire to return to youthful innocence. He has a greater sense of
responsibility than he is ever able to instill in Antigone. On the other
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Iqbal M. Salih
hand, Antigone wants life to be a perpetual state of childhood which is
free from any restrictions.
So the play reflects that man's heroism lies in facing life: prefer
waging a losing battle rather than escaping it. Neither Antigone nor Creon
really faces life; one is unbending in idealism, leading to death, and the
other lives by crime and compromise and not facing life as it really exists.
In the tragic world presented by Anouilh, there is a little hope in living.
“Any attempts to conquer the mediocrity of the human situation invites
doom or death. Thus, the heroes of Anouilh must live alone and die
alone.”25 The solitude of the heroic character is brought sharply into focus
in this play, with Antigone being isolated in death and Creon being
isolated in living .At the end of the play, Antigone is led away before the
shocked people of Thebes to be buried alive in the cave of Hades. After
Antigone's suicide in the cave, the powerful king Creon loses both his son
who commits suicide after hearing the death of Antigone and his wife
who dies of a deep grief.
Creon's ethical choices led him eventually to die completely alone as an
old man. Antigone's choices lead her to die alone and at a very young
age. Each of them had options outside the set behaviour he or she had
chosen as their own. The stubbornness of both youth and old age led
them to this plight.26No one could stop Antigone because death was her
aim and her brother was as just a pretext as Creon indicates:
No one on earth was strong enough to
dissuade her. Death was her purpose
, whether she know it or not.
Polynices was a mere pretext.
( Antigone, p. 224 )
Anouilh makes it clear that there were other paths to follow and that
those paths might have led to other courses of events in life. Antigone
thinks that she is maintaining her integrity by denying cooperation with
those that would have been given way to compromises. Creon believes
that his integrity is spared in that he saves the kingdom from its own
chaos when he assumes the throne. Jean Anouilh uses the extremes of
both characters to comment on the choices one can make to maintain
one's integrity and innocence in the face of compromise and corruption.27
There is no picture in the play of a benevolent deed, there is no
hope for reconciliation. As a result, the audience is left in a continuous
state of mental distress, as opposed to the classical definition of tragedy
25
The Defiance of Jean Anouilh's Antigone.
which ends with catharsis and the promise of spiritual renewal. The
dramatist refuses to please the audience by providing a neat solution to
the problem he has raised. Instead he leaves the final decision to his
audience to judge whether Antigone is right or wrong.
It becomes obvious that the defiance of Antigone is based on her
own idealism. It is the idealism of young which is the result of rashness
and obstinacy. This young woman thinks that, by declaring her rebellion,
she can conquer evil represented by the will of the king. In fact, Antigone
is a victim but of her irrationality which is the outcome of her unstable
circumstances she lives in her childhood. She is stubborn and used to
show revolt whether against her family or the authority. She rejects the
materialistic world and prefers to enjoy happiness, which is different from
that of others and which is created by her. Thus, Antigone chooses death
instead of surrender.
Notes
1. Ivar Ivask and Gero Von Wilpert, eds., World Literature Since
1945 (New York: Frederick Unger co., Inc., 1974), P.252.
2. I.C.Thiman, A Short History of French literature (Oxford:
Pergamon Press Ltd., 1966), P. 186.
3. Mac Graw-Hill, Encyclopedia of World Drama, vol. 1 (U.S.A: Mac
Graw-Hill,Inc., 1972), P.63.
4. Leo Alyen, Greek Tragedy and the Modern World (London:
Methuen & CoLtd., 1964), PP. 278-279.
5. Thiman, P.207.
6. John Gassner &Edward Quinn eds., The Reader's Encyclopedia of
World Drama (London: Methuen & CoLtd., 1970), P.18.
7. J. Chiari, Landmarks of Contemporary Drama ( London: Herbert
Jenkins, 1965), P. 52.
8. Aylen, PP, 280-281.
9. Ibid, P.279.
10. Jean Anouilh, Antigone in Jean Anouilh: The Collected Plays,
vol.2 (London: Methuen & CoLtd., 1967), P.182.
26
Iqbal M. Salih
11. Antigone, P. 187.
12. Ibid, P. 188.
13. Integrity in Jean Anouilh's Antigone, www.123helpme.com
14. Antigone, P. 215.
15. www Pink monky notes.com, Anouilh's Antigone.
16. Antigone, P., 209.
17. Ibid, P. 214.
18. Ibid, P. 223.
19. Jacques Guicharnaud, Modern French Theatre ( U.S.A:
University Press, 1967 ), P.133.
Yale
20. Karri Pasteris, OSU Theatre Performance Anouilh's Antigone
(The Dialy Barometer Online, Saturdy, March 25, 2006).
21. Ibid.
22. Antigone, P.213.
23. Raymond Williams, Drama from Ibsen to Eliot( England: Penguin
Books in association with Chatt & Windus, 1964), P. 220.
24. Antigone, P. 216.
25. wwwPink monky notes.com.
26. www123helpme.com ,Integrity of Jean Anouilh's Antigone.
27. Ibid.
27
The Defiance of Jean Anouilh's Antigone.
Bibliography
- Anouilh, Jean. Antigone in Jean Anouilh: The Collected Plays, vol.2.
London: Methuen & CoLtd., 1967.
- Aylen, Leo. Greek Tragedy and the Modern World. London: Methuen
& CoLtd., 1964.
- Chiari, J. Landmarks of Contemporary Drama. London: Herbert
Jenkins, 1965.
-. Gassner, John,and Quinn, Edward, eds., The Reader's Encyclopedia of
World Drama. London: Methuen & Co. Ltd., 1970.
-Guicharnaude,Jacques. Modern French Theatre. U.S.A: Yale University
press, 1967.
- Integrity in Jean Anouilh's Antigone, www.123helpme.com.
-Ivask,Ivar,and Wilpert, Gero Von, eds.World Literature Since 1945.
New York: Frederick Unger co., Inc., 1973.
- Mac Graw-Hill, Encyclopedia of World Drama.Vol. 1. U.S.A, 1972.
-Pasteris, Karri. OSU Theatre Performance Anouilh's Antigone. The
Dialy Barometer Online. March 25, 2006.
- Thiman, I.C. A Short History of French literature. Oxford:
Pergamon Press Ltd., 1966.
- Williams, Raymond. Drama from Ibsen to Eliot. England: Penguin
Books in association with Chatt & Windus, 1964.
- www Pink monky notes.com, Anouilh's Antigone.
28